Kay Dick – författare

For fans of I Who Have Never Known Men, a 'creepily prescient' (Margaret Atwood) lost dystopian 'masterpiece' (Emily St. John Mandel): in a nightmarish Britain, THEY are coming closer.'Ceepy, tense and strange.' Ian Rankin 'Delicious and sexy and downright chilling ... Read it!' Rumaan Alam 'The signature of an enchantress.' Edna O'Brien 'I'm pretty wild about this paranoid, terrifying 1977 masterpiece.' Lauren Groff 'Completely got under my skin.' Kiran Millwood Hargrave 'Lush, hypnotic, compulsive.' Eimear McBride 'A masterwork of English pastoral horror.' Claire-Louise Bennett 'A short shocker.' Andrew Hunter MurrayThis is Britain: but not as we know it. THEY begin with a dead dog, shadowy footsteps, confiscated books. Soon the National Gallery is purged; eerie towers survey the coast; mobs stalk the countryside destroying artworks - and those who resist.THEY capture dissidents - writers, painters, musicians, even the unmarried and childless - in military sweeps, 'curing' these subversives of individual identity.Survivors gather together as cultural refugees, preserving their crafts, creating, loving and remembering. But THEY make it easier to forget ...Lost for half a century, newly introduced by Carmen Maria Machado, Kay Dick's They (1977) is a rediscovered dystopian masterpiece of art under attack: a cry from the soul against censorship, a radical celebration of non-conformity - and a warning.

For fans of I Who Have Never Known Men, a 'creepily prescient' (Margaret Atwood) lost dystopian 'masterpiece' (Emily St. John Mandel): in a nightmarish Britain, THEY are coming closer.'Ceepy, tense and strange.' Ian Rankin 'Delicious and sexy and downright chilling ... Read it!' Rumaan Alam 'The signature of an enchantress.' Edna O'Brien 'I'm pretty wild about this paranoid, terrifying 1977 masterpiece.' Lauren Groff 'Completely got under my skin.' Kiran Millwood Hargrave 'Lush, hypnotic, compulsive.' Eimear McBride 'A masterwork of English pastoral horror.' Claire-Louise Bennett 'A short shocker.' Andrew Hunter MurrayThis is Britain: but not as we know it.THEY begin with a dead dog, shadowy footsteps, confiscated books. Soon the National Gallery is purged; eerie towers survey the coast; mobs stalk the countryside destroying artworks - and those who resist.THEY capture dissidents - writers, painters, musicians, even the unmarried and childless - in military sweeps, 'curing' these subversives of individual identity.Survivors gather together as cultural refugees, preserving their crafts, creating, loving and remembering. But THEY make it easier to forget ...Lost for half a century, newly introduced by Carmen Maria Machado, Kay Dick's They (1977) is a rediscovered dystopian masterpiece of art under attack: a cry from the soul against censorship, a radical celebration of non-conformity - and a warning.

From the groundbreaking author of They comes an "elegantly slender account of a love affair, a death, and a mystery." (Janice Elliott, The Sunday Telegraph)Twenty years ago, Cassandra had an affair with a married woman named Anne. Although begun in passion, their entanglement ended abruptly, shortly after which Anne killed herself. Was Anne beyond help, or did Cassandra bear some responsibility for her lover's demise? Haunted by her memories of their time together, and finally able to tell her story, Cassandra unburdens herself in a letter to her dear friend Francis.Originally published in 1984, and closely based on a tumultuous and ultimately tragic relationship the author had with a married woman two decades earlier, The Shelf is a deeply moving work of autofiction-"Though I shall deny it, of course," Kay Dick told a reporter shortly after its publication. Written with a "quiet elegance" (Elaine Feinstein, The Times), it's a "tour de force" that places Dick "in the same category of sensibility as Jean Rhys, Katherine Mansfield and Ford Madox Ford" (Gillian Freeman).

Ambientada en las ondulantes colinas e inhóspitas playas de ­arena y guijarros de la costa sur de Inglaterra, esta inquietante ­novela describe una sociedad en la que la insulsa conformidad domina con terror el día a día. ­Grupos violentos deambulan por el país destruyendo la cultura, atacando brutalmente a quienes se resisten a la purga, aislándolos para que borren sus recuerdos. «Ellos» no tienen gobierno, ni credo, ni piedad; son crueles y bárbaros. Aborrecen el arte, las emociones, los sentimientos, roban novelas y pinturas, queman partituras y poemas.Un pequeño grupo de artistas e intelectuales disidentes intentará sobrevivir y seguir creando furtivamente, eludiendo los escalofriantes actos de la misteriosa turba. La resistencia se ejercerá por medio de diminutos actos individuales de desafío, de arte, de belleza: «Representamos un peligro. El inconformismo es una enfermedad. Somos posibles fuentes de contagio».Publicada por primera vez en 1977, la reedición en el mundo anglosajón de esta joya de la narrativa distópica ha vuelto a reivindicar la obra de Kay Dick, una de las voces más modernas y originales de su ­época.